This paper explores the changing nature of representations of the landscape in Australian cinema, using two recent films, Japanese Story (2003) and Red Dog (2011). These films represent continuations of, and changes to, the mythological base of Australian film, as outlined by Ross Gibson in South of the West: Postcolonialism and the Narrative Construction of Australia (Indiana University Press, 1992). Recent Australian film criticism is often focused on emerging stories that relate to indigenous reconciliation and multicultural integration, missing other stories and evolutions. Examinations of landscape in Australian film need to consider the complex process involved in its visual construction. This paper engages in a discussion of the development of monolithic ideas of Australian identity in the twentieth century and how mining mythology in the films studied co-opts elements of this identity. It also discusses the ways in which cultural power interacts with the political and economic spheres, suggesting a wider application for work concerning cultural knowledge of society.